Publication: Ellas no bailan solas: mujeres artistas
Loading...
Identifiers
Publication date
2011
Defense date
Authors
Advisors
Tutors
Journal Title
Journal ISSN
Volume Title
Publisher
T&B editores
Impact
Export
Abstract
Las biografías fílmicas de mujeres artistas tienen unas características técnicas y temáticas muy determinadas, que se analizan en el presente texto con los ejemplos de Séraphine (Martin Provost en 2008), La pasión de Camille Claudel (Bruno Nuytten, 1988), Carrington (Christopher Hampton, 1995), Frida, naturaleza viva (Paul Leduc, 1982) y Frida (Julie Taymor, 2002). A partir de estas películas argumentales se trata de definir el género y de establecer las diferencias-semejanzas que sigue respecto al biopic del creador plástico en general. Séraphine de Louis o Senlis, Camille Claudel, Dora Carrington o Frida Kahlo tuvieron existencias difíciles en la realidad y la ficción cinematográfica las ha magnificado. Todo ello, permite llegar a la conclusión de que el cine re-escribe las vidas de pintoras y escultoras, destacando u ocultando lo que interesa en base al ideario imperante en el tiempo y en el espacio en el que se realiza el film objeto de estudio.
The women's movie biographies artists have a few technical and thematic very certain characteristics, which are analyzed in the present text by examples Séraphine's (Martin Provost in 2008), Camille Claudel's passion (Bruno Nuytten, 1988), Carrington (Christopher Hampton, 1995), Frida, alive nature (Paul Leduc, 1982) and Frida (Julie Taymor, 2002). From these plot movies it is a question of defining the model and to establishing the differences - similarities that it follows with regard to the biopic of the plastic creator in general. Séraphine of Louis or Senlis, Camille Claudel, Dora Carrington or Frida Kahlo had difficult stock in the reality and the cinematographic fiction he has praised them. All this, it allows to come to the conclusion of which the cinema rewrites the lives of painters and sculptresses, emphasizing or concealing what is interested on the basis of the commanding ideology in the time and in the space in which the film realizes object of study.
The women's movie biographies artists have a few technical and thematic very certain characteristics, which are analyzed in the present text by examples Séraphine's (Martin Provost in 2008), Camille Claudel's passion (Bruno Nuytten, 1988), Carrington (Christopher Hampton, 1995), Frida, alive nature (Paul Leduc, 1982) and Frida (Julie Taymor, 2002). From these plot movies it is a question of defining the model and to establishing the differences - similarities that it follows with regard to the biopic of the plastic creator in general. Séraphine of Louis or Senlis, Camille Claudel, Dora Carrington or Frida Kahlo had difficult stock in the reality and the cinematographic fiction he has praised them. All this, it allows to come to the conclusion of which the cinema rewrites the lives of painters and sculptresses, emphasizing or concealing what is interested on the basis of the commanding ideology in the time and in the space in which the film realizes object of study.
Description
Actas del Segundo Congreso Internacional de Historia y Cine organizado por el Instituto de Cultura y Tecnología Miguel de Unamuno y celebrado del 9 al 11 de septiembre de 2010 en la Universidad Carlos III de Madrid
Keywords
Cine, Biopics, Mujeres artistas, Mujeres, Estudios de género, Louis, Séraphine (1864-1942), Claudel, Camille, Carrington, Dora, Kahlo, Frida (1907-1954)
Bibliographic citation
La biografía fílmica: actas del Segundo Congreso Internacional de Historia y Cine (2, 2010, Madrid)[cd-rom]. Gloria Camarero (ed.). Madrid: T&B editores, 2011, pp. 41-66